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In January 1998 Gareth Farr was commissioned by the James Wallace Chariable Trust to write this Piano Trio for the Ogen Trio, a leading NZ ensemble. Taking its subtitle Ahi from the Maori word for “fire”, it received its debut performance in Auckland, NZ in March 1998 in the presence of the composer. The style of the work varies in each of the four movements: the flavour of a French lullaby predominates in the first; an intense and unrelenting second movement harbours overtones of a Russian military factory; whilst a Balinese pop-inspired fourth movement contains numerous gamelan-like effects. The brief third movement is merely a quiet interlude, with a melodic reference to the first movement. The composition stands in stark contrast to Farr’s previous works. He has experimented with stripping away the density characteristic of past compositions in favour of clearer textures, exploring classical form, and allowing a simplicity of line to come through and speak for itself.

• Farr: Ahi; computer-set 

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• Gareth Farr: Ahi; video 

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• Ogen Trio - Piano Trios by Beethoven, Dvorak and Farr  Year: 1999 

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• New Zealand Trio - Spark  Year: 2004 

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• Ahi - The Ogen Trio  Year: 2008 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Brownlee: As if to catch the fleeting tail of time; computer-set 

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• Philip Brownlee: As if to catch the fleeting tail of time; audio 

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• Philip Brownlee: As if to catch the fleeting tail of time 

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• Two pieces by Philip Brownlee 

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Broken Glass portrays a dialogue between two opposing natures about the passing of beauty as represented by the two instruments of guitar and violin. It is a meditation on how two people create the ending within themselves for their mutual story, and collaborate through both tension and surrender to bring that ending to life.

• Goss: Broken Glass; computer-set 

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• Goss: Broken Glass; computer-set 

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• Thomas Goss: Broken Glass 

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My brother and his partner had two black cats, Doris, the elder (and undisputed boss), was half the size of Stanley. The cats arrived one day quite unheralded, realised they were onto a good thing, and promptly settled down as rulers of the house. In old age Doris went slightly spastic and wonky. We all thought she would go first, but she lived my brother.

Jenny McLeod

• McLeod: Cat Dreams; computer-set 

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• McLeod: Cat Dreams; computer-set 

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• McLeod: Cat Dreams; computer-set 

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Clarinet Quintet was commissioned by Christopher Marshall for his chamber music series “Christopher’s Classics” in 2006. It was written for Gretchen Dunsmore, clarinet, and The New Zealand String Quartet, for a premiere performance on September 13, 2006. The composition was also written as part of the composer’s work at The University of Otago. The point of departure in this work is Mozart, in the year of his 250th anniversary. Motivic ideas are derived from the opening melody of his Clarinet Quintet, using a magic square to transform the pitches. No direct reference is made to the Mozart theme until the third movement, which is more diatonic in character.



The first movement begins mysteriously, with a clarinet solo interspersed with rustlings from the strings. This solo contains the seeds for the entire movement, which is fast, lively and angular, following the slow introduction. A more moody and edgy middle section gradually builds up to a climax near the end of this movement. Contrasting with this is a slow middle movement that opens with a simple and bold statement on the strings. Over the top of this the clarinet plays a lamenting melody. The first four notes are a quotation from the composer’s opera The God Boy (Mrs Sullivan’s motif) signifying anxiety and guilt. A slightly calmer middle section is free in tonality, and builds up strongly in intensity, followed by an abridged return to the opening. The finale is a ‘moto perpetuo’ movement in which the diatonic opening idea is undermined by subtle tensions in the music. Although it is fast-paced and lively, it is also weary and uneasy in tone. A rousing final section leads to a quiet, fading coda, as the life in the music is gradually exhausted.

• Ritchie, A.: Clarinet Quintet; computer-set 

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• Ritchie, A.: Clarinet Quintet; computer-set 

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• Ritchie, A.: Clarinet Quintet; computer-set 

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• Two works by Anthony Ritchie 

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• Goss: Greenstone Sinfonia; computer-set 

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The march is connected with both military and alternative political gatherings. Trying to understand the form, I’ve been listening to Purcell’s Queen’s Funeral March, the conga playing of Quebec Summit protestors and the strangely military snap of Old Mother Hubbard (performed by the US Air Force Band). Revisiting this nursery rhyme, I was struck by the revolutionary aspirations of the last verse: The dame made a curtsey, The dog made a bow; The dame said, “Your servant,” The dog said, “Bow, wow.”

• Palmer: Mother Hubbard; electroacoustic part 

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• Palmer: Mother Hubbard; computer set 

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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; computer-set 

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• Palmer: Mother Hubbard; electroacoustic part 

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• Music by Juliet Palmer I 

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• Palmer: Mother Hubbard: f_mix; computer set 

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• Palmer: Mother Hubbard f_mix; computer set 

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When a handful of 9,000 year-old flutes were unearthed recently in China, the first impulse of the archaeologists was to play them. While hoping to reconnect to a lost time and culture, the archaeologists succeeded in cracking several of the instruments. More careful study revealed that the flutes were tuned to ‘familiar’ scales, enabling their former owners to play ‘perhaps even music’. A researcher then performed a Chinese folk tune, Little Cabbage, on one of the flutes. Xiao Bai Cai is the heartfelt lament of a child usurped by a stepmother and new stepbrother: ‘pale on the ground’, Little Cabbage weeps for the past.

With its mixture of carelessness, optimism and nostalgic yearning for times past, this story fascinates me. In 9,000 years time, what will other beings make of the crumbling remains of violins, flutes and double basses? Pale on the Ground is an invented music built on the imagined ruins of our own fragile culture.

• Palmer: Pale on the Ground; computer-set 

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• Palmer: Pale on the Ground; computer-set 

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• Palmer: Pale on the Ground; computer set 

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• Music by Juliet Palmer I 

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• Psathas: Piano Quintet; computer-set 

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• John Psathas: Piano Quintet (part 3 of 3); video 

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• John Psathas: Piano Quintet (part 2 of 3); video 

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• John Psathas: Piano Quintet (part 1 of 3); video 

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• Psathas: Piano quintet 

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• John Psathas: Fragments  Year: 2003 

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